This chapter discusses the impact of the growing constraints of notation (to achieve ensemble togetherness) on operatic performance. Solutions include text declamation over chordal punctuation, dry ...
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This chapter discusses the impact of the growing constraints of notation (to achieve ensemble togetherness) on operatic performance. Solutions include text declamation over chordal punctuation, dry recitative (recitativo secco) or spoken text alternating with set musical numbers; also the introduction of improvisation, embellishment, and performance flexibility. It considers some recent works created with the collaboration of the performers and without a fixed score — as in dance or jazz; the whole range of possibilities for improvisation and performer involvement from modified strict notation to free improvisation; and the implications that follow such as the notion of music and music theater as play. Audiences do not always recognize improvisation, but all theater needs the aura of improvisation in order to convey a performance that lives in the moment.Less

Notation versus Improvisation?

Eric SalzmanThomas Desi

Published in print: 2008-11-06

This chapter discusses the impact of the growing constraints of notation (to achieve ensemble togetherness) on operatic performance. Solutions include text declamation over chordal punctuation, dry recitative (recitativo secco) or spoken text alternating with set musical numbers; also the introduction of improvisation, embellishment, and performance flexibility. It considers some recent works created with the collaboration of the performers and without a fixed score — as in dance or jazz; the whole range of possibilities for improvisation and performer involvement from modified strict notation to free improvisation; and the implications that follow such as the notion of music and music theater as play. Audiences do not always recognize improvisation, but all theater needs the aura of improvisation in order to convey a performance that lives in the moment.